The early history of the Cult of the Mother Goddess in Northern Indian Hinduism with special reference to iconography.

The early history of the cult of

T H E H O T H E R G O D D E S S in Northern Indian Hinduism

with special reference to

I C O N O G R A P H Y

«

by

MUKHLESUR RAHMAN

#

Thesis submitted for examination for the degree of

DOCTOR OR PHILOSOPHY at the

U N I V E R S I T Y O P L O N D O N

1965

ProQuest Number: 10731161

All rights reserved INFORMATION TO ALL USERS

The q u a lity of this re p ro d u c tio n is d e p e n d e n t u p o n the q u a lity of the c o p y s u b m itte d . In the unlikely e v e n t that the a u th o r did not send a c o m p le te m a n u s c rip t and there are missing p a g e s , these will be n o te d . Also, if m a te ria l had to be re m o v e d ,

a n o te will in d ic a te the d e le tio n .

uest

P roQ uest 10731161

Published by ProQuest LLC(2017). C o p y rig h t of the Dissertation is held by the A u tho r.

All rights reserved.

This work is p ro te c te d a g a in s t u n a u th o riz e d c o p y in g under Title 17, United States C o d e M icro fo rm Edition © ProQuest LLC.

ProQuest LLC.

789 East Eisenhower Parkway P.O. Box 1346

Ann Arbor, Ml 4 8 1 0 6 - 1346

■Ci

A B S T R A C T

The present essay aims at a critical study of the cult of the Mother Goddess in North India from prehistoric times to the end of the 12th century A.D* It consists . of a preface, five main chapters, a concluding chapter and two appendices*

Chapter I discusses the position of goddess worship in the Vedic period and analyses the attributes of some of the Vedic goddesses to determine the extent to which they have anticipated the Mother Goddess in Hinduism*

Chapter II is devoted to some of the non-Aryan village deities and the Matpkas* It analyses their

■ functions and attributes and points out their place in Hinduism vis-a-vis that of the

Mother Goddess.

Chapter III traces the development of the concept of the Mother Goddess in Hinduism frdm the Vedic period and analyses the evidence of her worship from early Indian literature,

Purapic mythology, folklore and epigraphy*

t'i

Chapter IV examines the archaeological evidence

concerning the rise and development of the cult of the Mother Goddess in the prehistoric and historic times in North India*

Chapter V makes a critical study of the icons of the Mother Goddess and analyses the various forms

in which she appears in the iconoplastic art of early and medieval India*

Chapter VI in conclusion gives a brief resume

of the salient features of her cult and reviews the place the Mother Goddess now

occupies in Hinduism,

-000-

• - ; ’ v-

?:■: - V u ^

P R E * F A C E

V'U

This is the first full-length systematic study of the, Hindu Mother Goddess based on literary, and archaeological evidence. Unlike S.K* Dikshit’s book, The Mother Goddess, it has no claim to be called a study of Hinduism, nor is j

i it like Briffault’s The Mothers a study of social

anthropology inspired, by a desire to enquire into the

origins of sentiments and institutions, * The Mother Goddess has been the object of much

veneration in India from remote antiquity. Her cult has undergone substantial changes since its adoption by

Brahmanical Hinduism which has raised her to the dignity of a national deity under the names of Durga, Dev! or

Mata, A vast amount of literature has grown up centering ; round the Mother Goddess* Moreover, she is a prominent figure in popular mythology. She has also been the

subject of much Indian plastic art which has been enriched to no small extent by depicting the themes associated with her various aspects*

The abundance of literature, religious or otherwise, is however of small help in tracing the origin of the Mother Godddss worship in India in a scientific or

systematic manner. The earliest strata of Indian reli­

gious literature do not refer to her and her mention in

other \tforks which are datable in the early years of the Christian era is so perfunctory that it is not possible to form any. clear idea about the state or extent of her cult in" those .times* The same is almost true about the epics, though here for the first time we have indications of her organised cult and her worship not only by the

non-Aryan aboriginals but also by the K^atriya princes of India* The Purapas offer a much better picture of the Mother Goddess and her cult* Some of these texts also give the iconography o f ,her various forms* But, as with the epics,; the dates of the Puraijas have not yet been

satisfactorily determined, and consequently these

authorities * otherwise so helpful* cannot be much relied * : upon in reconstructing the early history of the Mother Goddess* The medieval Indian literary works of . secular .type refer■to the Mother Goddess as the object of

veneration by the Aryans and non-Aryans, but do not throw much light on her history, or iconography*

The Purap as lack in historical perspective, but they are nevertheless of immense value as source materials to :a scholar interested in, a study like the present one* In •

the numerous legends recorded by them are embodied the. .v beliefs and practices on which the: foundation of-Hinduism rests* The Purapas no doubt discuss the:higher philosophy

of religion, but they also.: reveal through the legends and

anecdotes,a vivid picture of the Mother Goddess in all

her aspects and the place she occupies in Hinduism*

Aware of the drawbacks of the literary sources, we have depended more on archaeological evidence - sculp­

tural, epigraphic and numismatic* The history of the Mother Goddess has been written quite clearly in our opinion in the archaeological finds consisting of

terracotta statuettes and steatite plaques, ring-stone.s and votive stone-discs,. coins and seals, and inscriptions on stones and copper plates* Attention to the signifi­

cance of, these, especially, the statuettes, ring-stones and votive discs has ho doubt been drawn by archaeologists but they have not \so far been utilized in a systematic study of the Mother Goddess as. has been done in this work*

Besides furnishing unmistakable proofs of her worship in prehistoric and. ancient India, the archaeological evidence throws, much light on the iconic motifs in the development of the Mother Goddess. The salient iconographical

features of the goddess are noticeable not only in the prehistoric female figures from the Indus Valley, butalso

in similar objects unearthed.at the archaeological sites all over' North India. (The statuettes as well as the

female figures appearing on early Indian coins undeniably anticipate the Mother Goddess as she appears later in Indian plastic art - a heavy-breasted, slim-waisted,

wide-hipped and profusely ornamented figure - conforming

to the nyagrodha-pariman&ala or ideal type of Indian

.'Ft

feminine beauty# Many of the attributes, the different attitudes of her presentation as well as her lion mount can also be traced to the early Indian coins* Further the coins reveal a striking resemblance between the

Indian Mother Goddess and her counterparts in Western , Asia and Greece*, not only in regard to attributes but in her name as well* Apart from this,*the coins also point’

to foreign influence on the iconography of the Mother

Goddess* ; ' :

While utilizing the archaeological and Pursugic

materials in^ this essay, we have hot neglected the ■ studies on social anthropology by some of the celebrated - ' 1 ' ■ ' ■ 'V;’.-. - ' ■ , : " . - ■ 1 ' ■

scholars in the field* Professor E.O* James1 monograph , which is otherwise a brilliant survey of the goddess cult from the Upper Palaeolithic Age down to the historical period, devotes but a few pages to India* Ihe same is true about Sir J*G. Frazer’s very informative volumes

v - V ■ ■ 5 . ■ . ■ ■ , . '■* ;

and Briffault’s work .v Unlike Professor James, these two * authorities do not correlate their anthropological

findings with archaeological evidence* Particularly;

useful for the purpose of this theses have been the works

•

1♦ Ihe Quit of the Mother Goddess* London, 1959*

2* She-Golden Bough* 3rd* edition« London, 1933*

3* fhe bothers * 5 vols**. London. 1927*

on popular religion, folklore and ethnology by Dr* W*

1 ; * ' ■ '2 ; . . . ; - 5 • .• ' j Crooke , E*T. Dalton , S*C. Hoy etc* Based on personal observation, these studies scientifically evaluate the.

■ ' ■ ■ - ■ ” , ■ - - ■ ■ -■ :•'

popular beliefs and customs, legends and anecdotes, in which can be traced not a few elements of Hinduism*\ They also:focus our attention on many details of Hindu religion including the numerous village deities,whose cults are , prevalent in India and,who are the prototypes of the Mother Goddess* It is not the Vedas, the Brahmapas or the Upahi^ads, but this welter of folk-beliefs, customs and superstitions which:presents, the Mother Goddess xn

t M correct perspective* It is from this background that she was lifted by the Hindu priestly class who made her the great goddess (MahadevI) by changing her complexion, but not so much of her flesh and blood, so that her ■ ' pristine characteristics are still recognizable, and she . '

is evCn now what she always has been - a Mother Goddess ” to all sections of the community, boundless alike in both her benevolence and her malevolence*

The need.for a study.of the goddess cult cannot be

overemphasized* In the words of Professor James, 'Clearly it was an essential element.very deeply laid in the long 1* Tribes, and Castes of North Western Province?and Oudh,

,4 vols, Calcutta 1896;;Popular_Religion and Folklore of Northern India, Oxford,' 1896* Religion and^Folklore ; oY-^^'Mbrtherh^lngn'a, Oxford, 1926* 7

2* Descriptive Ethnology of Bengal, Calcutta* 1872*

3* Qraon Religion and Customs, Ranchi, 1928* ,

and complex history of the body of beliefs and practices which centred in and around mysterious processes of

fecundity, birth and generation, alike in nature, the human species and in the animal kingdom* . Relics

identified as associated with the cult of the Mother Goddess have been traced as far back as the Gravettian Gulture in the Upper Palaeolithic and on the basis of these'has been laid the hypothesis that she waa the

; ^ 2 ^

earliest manifestation of the concept of the Deity • Be it so or not, the antiquity and importance of the Mother Goddess is confirmed not only by archaeological and

documentary materials, but also by the actual practice of:

her cult prevalent among the followers of two important religions• In Roman Catholic Christianity the prehistoric Mother Goddess has been transformed into the Plater

Ecelesiae or the Mother of the Church, and the Madonna' who is the Virgin Plother of Jesus, the Incarnate son of God* In Hinduism, she is venerated in numerous forms and under equally numerous names, but is commonly known as Durga, Parvatl, Gaurl, Ma, MahadevI, Maham&yl, Jaganmata,

, . . * 3 Desamata (motherland), Bharatmata (Mother India) etc. etc*

1* CMG, p. 11.

2. Murray, M.A. : Ihe Genesis of Religion. London, 1963,

pp. 61-62* * ”

3* Por the,names of the Mother Goddess see Sabdakalpadruma, which-mentions their number as 1000 but gives223\PP•

742-46); Matsya P . xiii, gives 108 names of the goddess in connection with her pIfhas; DM, pp. 254-57; Bphat- J tantrasSra, i, pp. 47 ff; JRA8BL, xiv(i), pp. 26-587

Erl,vvTr. 254-26; Sorensen, 8 : An Index to the Names m

tile Hahabharata, London, 1904, pp. '689-690

Of her common names, we have selected Durga to refer to the Mother'Goddess, though for the sake of convenience we have also mentioned her: as1Devi1 or 1the"goddess1 in this thesis. In our, opinion, rather than any other name of hers, Durga suits her best and it is also in perfect . conformity with her character, in the M&rkan&eya-Can&I.

The gods are;in great trouble (durgati) because of the tyranny of the t it an Mahiga, and they implore her Just as;

children do implore their mother for:protection. Like j the affectionate Mother that she is, the goddess .

immediately takes the frightened celestials under her

wing and saves them by killing the wicked asura* Not only once, but she repeats this act again and again as well as providing sustenance to the creation in her role of

Sakambhari,when the world is in the grip of a terrible drought;,and famine. Thus, whether as a protectress, a war goddess, of an affectionate mother ever anxious to save and deliver her children - gods as xtfell as mortals — the Mother Goddess is revealed as the durgatinasini

(destroyer of troubles or miseries), and therefore deserves to be called Durga. Moreover, it is also the

most familiar among her many names and epithets. Her

annual worship during the autumn is associated with thid | name and is called Durga-puna. which the Hindus Pi

Bengal regard as their national festival. Her autumnal

service is marked by great excitement, and looked forward

to with much expectation by rich and poor alike, Uina, Gaurl and Parvatl as names are mostly associated with her maiden state and also with her role as the wife of Siva.

But it is as Durga that she perfectly,fits in with her

* " ' . ./ "

function as the slayer of demons, protectress of her worshippers, remover of miseries and as the- mother not only’of Gape&a and Karttikeya but of the entire creation*

Various bodies and individuals have laid me under their debt while I have been engaged in preparation of this essay* I am thankful to the University of Rajshahi for the study leave that has enabled me to come over here to. take up this work* ,vlo the British Oouneil I am

grateful for a travel grant with which they have favoured me under the Commonwealth Universities Interchange

Scheme* I am most particularly obliged to another institution, which wishes to remain anonymous, for its kind interest in my work and favouring me with a

substantial grant-in-aid for its completion* I must also thank the authorities of the Varendra Research

Museum, Rajshahi, for kindly, permitting me to take photo­

graphs of some sculptures in their collection for use,in

this thesis* . ,

To Professorf A.LifBasham^:i^ are due - my \ most 'sincere "gratitude., affeeition and respect. It is . ^

impossible for me to express in words the invaluable lielp, wise guidance and constant encouragement that I have had the good fortune to receive from him during the prepara­

tion of this essay, pi amconsiderably ^indebted to ' Miss Padma MiSralvof; ; Benares, Hindu University, and Mrs Aparpa ;

Das Gupta of .Calcutta for helping me 6ver many a. difficult ; Sansld?it6passago> ■To ProfessorvA,R. Mailick, my" friend ; | and colleague; of more :than twenty years, I am under

ob^gations-too^numerous to enumerate. To Professor:M,Aw'■;

Bari I am Indebted for many acts of kindness,^. encourage^- 61 ment :and; helpV;; I am :also in the debt ; of Mr# S#; SiddhahtaT-;

of the Varendra' Research Society and :Mr Dvijendra Kumar ; Ghakravarty, (Rampada Babu), formerly Assistant Curatory Varendfa Research Museum at Raj shahi, for much help and ; encouragement# lo the: latter 1 am particularly grateful for: initiating me;.in:the "study of iconography* ■

1 would also fhankfuily acknowledge,:here the ungrudging help and encouragement received from my students'Mr and ^ Mrs 1C. ’Mollah end Mr M, Rahman. So D r A. Momin Ohowdhury of Dacca: my thanks are due for many valuable suggestions and "help#-'^xl. would-also thank Mr. . Abul Faraz Khan,: ; ; * engineer and architect, for: generous assistance in regard to some of the plates# I would also express my thankful-.

. . ness for all the courtesy and promptitude with which I ;

have been served by the staff of the libraries of the School of Oriental and African Studies, the British

Museum, the India Office, the Royal Asiatic Society and the University of London#

I i must also take this opportunity to put on record my most sincere thanks and gratitudb to my parents and m y . sister 3?rofessor Muslimah Khatun for all their help, / ; ’ encouragement and good wishes#. Finally, I would thank little Chand,. my wife, for great encouragement and much self-sacrifice, that have sustained me throughout the preparation of this thesis#

Alam ati vistareha

School of Oriental and;African -Studies L 0 N B 0 N

2nd'July, 1965#

I Q

fa

' '-S ' 1' ' .

0 : N T E K 2 s

t

Chapter - . : Page

A b s t r a c t 3

,P r e f a o 0 «•«•«....**•*..•. • •. ^ • . 6

> . ■ A b b r e v i a t i 0 n s ... 22

G I p s s a . r y • * 31

: L i s t 0 f ' P 1 a t e s '. .. ... .... 45 I, THE. PROTOTYPES OP THE. MOTHER,

. GODDESS : VEDIC '

A i t. i *■ * « • » \. a ' . a,. « • 1 52 . S.; a _r a s v a t ■ il . * * . «*• * • • 59 S r X —. L a k ^

X • • • • • * • »««*•**«•*•* . • 03 S i t a ••...1... . ...100 P p • t h i L , - v 1 ... 1 00 II. THE PROTOTYPES OP THE MOTHER

GODDESS : HON^VEDIO ■

T h e G r a m. a d e v a t a . • • ... 152

^ a ^s ’ j j i h I 158

V a n a. - D u r g a . . . • •. • • • • •. • •.... •. 150 Ire e-wor ship in ancient India :

i. Prehistoric period • . . . . 1 5 4 ii. Historic period ... ... • 155

The tree as source of fertility . . . •. •. • 101 Vana-DurgEy precursor of ga£$hi ... 108 Godlings of disease and cure . • •. . . ... 17.1 S' 1 t;;a 1. a. *'. # . * . • • . . . .- • *.... 17^

Olai Cap^I or Ola Bibi ... 189 . £D h e M a t. r k a s

■ ' — - m - - jmtr ■ » , m — m w w n # -

I

J

Is Oaraup^La a Matpka?*... 225

. Some‘characteristics of the Matpkas... 251

Chapter

III.

IV ♦

- 4 n 05.

' ?- ■ ■. ES£e _

THE MOTHER GODDESS IN NORTH / INDIAN HINDUISM

.V ,6 d l c . * 3? e r i o d ....•..»*.»•«.«» 245 U m a . .... *... ... J 2-50

P a r v a., t, I . 254'

D u r g & . • .. •. . . . • • .. 260 0 a p 1 o r C a p 4 i ^ ®- •••*•• • • 264 The Mother Goddess in the Epics ..••••., 269 The Mother Goddess .in. the Puranas .. .... ♦; .

i. The legends- and their analysis .... 274' ii. The non-Aryan-background of the

Mother Goddes s : Sgtbaratsava ... 278 iii. Aryanization of the Mother

Goddess .v;. .v ... ... * 282- Is the Mother Goddess a Virgin ? ... 288 The marriage of. the Mother Goddess

and its analysis * , 298 Glimpses of the Mother Goddess

from early Indian: literature w.,,... 512 The Mot her Goddes s in Indian .

eprgraphy - . ... *.... ■... •.■ •.. » •. . . . ■ 518 . The Mother Goddess as Vignusakti ... 536

THE MOTHER GODDESS IN INDIAN ARCHAEOLOGY > ;

Prehistoric period...550

ii. Historic period •

The Earth Mother ...;.. 568 Ritual, tanks • * ... 576 Ring-stones and Stphe-discs ... 578 Further evidence : terracotta

\ Iem&le figurines ... 584 Mother and"child.figures -

( in terracotta ) ..., 589

I ■ <v

\ .. - '• ,/ ’ , JL V

« ■ Mother and child images

stone) • • * *'*■ * • » , » • # * • * 39^

(The Mother Goddess on early Indian Coins and Seals

Pre-Gupta Coins . . . . . .:* • * * • . .402

Gupta Gold Coxns • •••••**#.• * • ... .••••••••. 42^1 Seals * «.» • ««t,# * ? § * f t • • • • § • , • • • • • •«*.* * • • 456- IHE MOTHER GODDESS IN HINDU ICONOGRAPHY .... . . . .*•> 445 Durga as the slayer of the V; t xtanbuffalo 446 Ihe,so-called Caucjl images ... 476

Durga? as Gauri- • *■» ••*•••*• .■• * • * * • * •-* * * * * .479 Durgai as Parvatl > 48*1 Durga as Unia *•. ...«.*****«•*. 484

Um&-? Gaurl-'Parvatl images ... .>.*... 485

Sarva$I ■ xmage? ..•.**.«•*.*..«»»..*««... 4*95 The so-called Mahamaya image • ♦... * * 4-94 Seated. varieties of ' DurgS images •.. * .. v • 500, Ihe; so-called Bhfavanesvarl image ...504

Durga as Mah&lak§ml ... *... 506

Durga as Simhavahihl ... ... 508

Durga as Elcanamsa ;■‘ ... * ... 510

Durga as a real mother . ♦... . 512

Durgd as a bride • * .... 519

Durga as.the wife of Siva ... 53^

Durga as the better-half of Siva; ... 541

Chapter

VI. CONCLUSION ... 551 Appendices .

A# Che legend of the Mother Goddess iii the Mdrkandeya

- 5?ur a ••••«••• •••* *,• 560 B. Che different forms of the

Mother Goddess on Gupta

Gold Coins * * • «••»••••••* ^66 B i b 1 i o £ r a £ h j 57^

P CL a. t e s ♦****•#**«••••**# 606

If c>

Rowland, B ; The Art and Architecture of India*

Tod, Col. James : Annals and Antiquities of

; Ait areya Brahmana, ■

Annals of the Bhandarkar Oriental Research Institute* Poona.

Gupte and Hah a j an ; A,janta, Bllora and Aurangabad Oaves* .

Isvalayana Gyhya-Sutra.

Ancient India, Hew Delhi.

-■'Zimmer-* H : The Art of Indian Asia.

Das Gupta, B.B ; Aspects of Indian Religious Thought.

Burgess, J : The Ancient Monuments,, Temples and Sculptures of India.

Agni Pur an a. :

Appendix.

.Adbhuta Ramayana.

Archaeological Survey of India, Annual ; .

Report. . ‘ ,

Vasu, H.N. : . Archaeological Survey: of

Hayur abhahj a. ;

Archaeological Survey(of India) Reports,

; *... Hjlii...ni'mni.i.a.rAMHlMH.W.nwfcMU.. ^ *

Cunningham Series*. ; ; . / ; V-■■■■1,-11 Archaeological Survey of Western India.

U ^ m n m M l H i i n m i H ' im i , >■ i » r j 11 tl> U iH iw w W ii.iH iiM iiM |i iiiiiiH iiiin i n ..I i .iW. i . i i w » w m « iw . M U , i . r r f | "j. ii « m n. JUiui. i . i . i hwt— — m *

Atharva Veda.

Altekar, A.S : Gatalogue of the Gupta Goins, in; the Bay an a Hoard.

Bhattacharya* Gurudas s Bangla Kavye

Siva. |

Gardner, Percy : British Museum Catalogue I

of the Coins of, the Greek and Scythic . - I

;s of , ‘Bactria .and India. /'!

Bhattacharya, Asutosh : Baftgla Mahgala- ■ I

Kavyer Itihasa. v ‘ .

Das Gupta, S.B : Bharater Sakti-sadhana o. !

Sakta Sahitya. ;‘ ' ' j

Brahma Vaivarta Puranal : . j Agrawala, V.S : A Catalogue of the J Brahmanical -Images in Mathura Art.

Allan, J : Catalogue :of the Coins of

Ancient India. -

Allan, J i Catalogue of the Coins of the Gupta Dynasties, ^

Smith, V, A : Catalogue of the Coins in the Indian. Museum, Calcutta.

Whitehead, R ,B s Catalogue of the Coins in the Pannab Museum. - .

■«—fctMIH *H».I >ll*r ill»lli.UW»«»UWIlilJtlWWrMM.HWPMWTtlMBI|,l)M.llli:ll'LIU,UWUiW

Dowson, John :

A-Classical Dictionary of

Hindu; Mythology*

Altekar, A.S. : The Coinage of Empire..

Cambridge History of India.

Pleet, J. P : Corpus In scriptionum

' “ 1~ r i Ti ' h i m ii i ■■— i - y Ti n i i m i

Indiearum.

<Tames, E * 0 : Til© Quit of the Mother Goddess*

The Calcutta Review, Calcutta. ;

PergU3son,

J and Burgess, J : The Cave temples of India*

Basak and Mattacharya j A Catalogue of V W i " « "

the Archaeological Relics in the Varendra Research Museum, Rajshahi.

Devi

Banerjea, J• N : The Development of Hindu

Iconography. ;

Devi-Mahat my am, edited with notes by V.S. Agrawala*

Devi Purana.

Eastern Art, Philadelphia.

Eastern Gircl'e. .

Editor, edited by.

Rao, T.A.G: The Elements of Hindu

Iconography. -

Epigraphla Indie a

Banerqi, R.D ; Eastern Indian School of

Medieval Sculpture. \

Hopkins, E.W : Epic Mythology.

The Encyclopaedia of Religion and Ethics,

ed. Hastings. , Y

Prazer, J.G :

The Golden Bough

Gupta Era.

Gobhila Grhya-SutBa*

Martin,! E . 0 : The Gods of India. '

Neumann* E : The Great Mother*. , :

History of Bengal, vol. i,:edited by R,C, MaoumdarT

The History and Culture of the Indian

People * edited by R.O. Majumdar and A.D.

Pusalkar. ' - ■ vol. i. The Yedic Age,

vol*ii. The Age of Imperial Unity, vol.iii.The Classical Age,

vol.iv. The Age of Imperial Kanauj,

Kane * P.V : History of the DharmaSEstrae;

Smith* V. A ; A History of Pine Arts in

India and Ceylon,

Hiranyakesln Grhya-Sutra. !

ll II • I 111 Hu I nil #■■■!■ ■■■■Ml !!■■! !■!■■■ I > HIM mill. ■ *.

Coomaraswamy

*

A,K t History of Indian

; and Indonesian Art.

Wilkins*. W,J : Hindu Mythology*

; Underhill* M.M : The Hindu Religious.

Year ,. . ,

The Indian Antiquary. '

Bhattasa-li * N*K , Iconography of the Buddhist and Brahmanioal Sculpture s in

the Dacca Museum.: :

Indian Culture * Calcutta,

The Indian Historical Quarterly*1

11 urn T Ml Hi iiiiiOinJfftnnT>rn,— ---rr mif -I niinnln .■iiniiirni. iiimwi —n »■Uni ffrT * ,

Calcutta# .

Journal of the America^. Oriental Society* New Iiaveh.

Journal of the Asiatic Society of Bengal

V

New, Series, Calcutta. ■ * * Journal of the Bombay.Branch of the

I i...if Mir - tin iTTiTfcwiM.iMWWuwlum.iwi, i i*p,ii,iiii..,iii-------^Tiili ui"hhwphhi.iimI. .« up

Rpxa.l ..ls.lat.ig.^QS.lefeg^ Bombay. . ■ ,;:

JBRS 'jigOA.

JNSI JEAB

JRASBL

S?

K U . ^.

l e m

m

LP 7

m a r; /

MASI Mbh •

m

m -

MIC

m p

‘ .MS- . ' ; - ' MSIAC

Aj u

Journal of the Bihar Research*Society,

•" w i t h i i w i m i w ) mir~Tf~ m iiiHim iin iiX U Bilr ii-n U M W M M iiiii i i i m Him * i i i n h i in ii i > p ^ n w iiiiH w * w iii» n ri* \h w *

Patna* '

Journal of the Indian Society of

Oriental Art, Calcutta* ; Journal of the Numismatic Society of :;

Jndia, Benares *

. - Journal of . the Royal Asiatic Society, 7

Loiidc>n*7 ; ' 7.- ■- 7 , ; ;"

Journal of the Royal Asiatic Society of

*" " — ■ ■■■ ■ r ,"-irr-irtMill* i « i¥i r -r~*-Tf f m ■ l l i l iiy i HiiwiiqTT*Hiii)HHW trm ttiJ*rtnm*w w iTr- ■iwn>w> i wir.inM|i;i» T1li >w^i * > im n * i* ‘

, Letters, Calcutta*!

Kalika Purana.

Kena: > Upanisad.

- 7^7

xn— %*)F ri'HUI i *

'^sixo.usse Encyclopaedia of Mythology* i Lalita^Kala, New' Celhi; ' . . A>-]

Lihga .Purara*, •' 7.7;, ' 7 ; 7.7 Mythology of All Races., edited by Gray, ;

; MacCulloch.and others,;Boston*

: Memoirs of the Archaeological Burvet

of India.' "

. . ' - / . 7 'A ' : "-77 ' - The. Mahabharata.

Dikshit, S. IC : The Mother ; Goddess * 7.,;' Man In India, Ranchi* ■ ; ” : Mohen;jo--daro and the Indus Giyi 11 zation, edited by'Sir JqhbAMarshall* : .

Mar hard e y a Pur ana... - A-5

77 Maitrayani Sa&hita. 7 .7 . -

I i n|..*fcTTr*irrni—m—nWm,■■ iHii wim w h* '

dimmer, H :

Myths and. Symbols in Indian

Art and Civilization* 7

Mundaka Upanisad

(The Numismatic Chronicle, London, Hew Imperial Seris.

Hew Series• . ' -

Oppert, G : Ihe Original Inhabitants ■ . of India,

M u i r J : Original Sanskrit Texts,

Pur ana * -

■ rir(,n n ,im r,i f i i J U w w - J

Proceedings, of the All India Oriental

Conference* ' - J

S* M. Bhattacharya : Purohita Darpaua.j Faraskara Grfaya--Sutra. . . | Proceedings of the .Indian Historical i

Congress* ' r

plate. ; ]

Padma Purglua.

Grooke, W :. Popular Religion and

Folklore of Northern- India.

-Quarterly Journal of the Mythic : So c i e t y Bangalore.

Crooke, W : Religion and Folklore of ’

Northern India* - : .

Keith, A.B r Lhe Religion and : / Philosophy of the Vedas *

Monier-Williams, M ; Religious Ihought

and Life in India.

o

& 0

SB SBE SBFML,

SED SIB

Satapatha Brahma;g.a.

Sacred Books of the East, edited

r r ^ —iwn ^

by M. Muller.

The, Standard Dictionary of Folklore, Mythology and Legend, edited by

Maria Leach.

Monier*r*Williams, M Sanskrit- English Dictionary.

Sivaramamurti, 0 : South Indian Bronzes.

A d d e n d a

SGS Sahlchalayana Gyhya-Sfttra

L B ;

IS

L U

VGSI VM . . VP

VRS-AR VRSM ■

Laittiriya Brahmana.

Laittirlya Sa&hita.

Laittirlya. Upanigad.

Whitehead, H : Ihe Village Gods of South India.

Macdonell, A.A :

Vedic Mythology.

r-Trwr.“»>W«II.WI— <.,«,) ...Ml,liai.

Yamana Purapa.

Yarendra Research Society, Annual Report, Rajshahi.

Yarendra Research Society's Monograph, Rajshahi.

YS V&tjasaneyl Safiihita.

Bhandarkar, B.G : Yaisnavism, Saivism and Minor

verses *

James, E.O : dlhe Worship of the

“ God,

\ o

.

' * ■

ei 1

Abhan^a

Abhayamudra

Abhigeka

Agamas

AI

Aksasutra

mww Imw— —«w r t —

All&ha

* U M W UMw J hW IW |ll|

ana

Xlinganamudra Amalaka

Ahjalimudra

G L O S S A R Y

a standing position in which ths?re is definitely perceptible slight bend in both in the upper and lower halves of

the figure#

a gesture of protection or assui^ance made by the hand which is turned towards the visitor with palm open and fingers raised upwards (pi* xxxv.1).

a ceremonial bath or sprinkling with water; usually associated with the coronation of an Indian king#

tantrik texts*

fire, an attribute of Durga (pl.xxxiii.1 Mother (Assamese).

rosary; a string of beads used as rosary (pi. xxxiii.2).

a particular mode of standing, usually sideways in which the right knee is

thrown forward, the right leg retracted and the.left leg is diagonally stretched behind* (pl.xxxviii.1)*

an embrace; a gesture of embracing.

the crest of the pyramidal tower of,a Hindu temple shaped like an amalaka (Emblic Myrobalan) above which~rises the finral*

A hand, pose in which the palms are . joined and the hands thus .are made to rest o n :the chest.1 Ihis handpose is

indicative of worship and prayerfulness

(pi. xxxv.3). . . :

Ahkusa an elephant goad. (pi. xxxiii.3-5)*

*5 9

i ' j

Annada Annapurna

5ry a As,ana

A^tabhuna iDa!

Asura

WWWWtW IW

Asvattha (tree) Atibhang;a

Ayudha

Bali

ara Bhumi Bhumitja

Bucjl Oakra

the giver of food; an epithet of Durga*

full of food; giver of food; an epithet of Durga.

half pavilion.

a noble lady.

a sitting posture.

eight-armed; an epithet of Durga.

the guardians of the eight quarters : Indra, Yama, Yamuna* Kuvera, Agni, Yayu, Nippti and Isana (P H I » pp. 519-20;. *

a Yedic ritual connected with the worship]

of ancestors. ,,

a demon. . ‘ - . : ■

the Ficus Religiosa or banyan*

■ W V W m M M IM f a m iM lM M iN M lt a M M t M l

the exaggerated form of tribhaiiga.

any weapon; ayudhapurusa s a male or,

female being-who" personifies a particular!

weapon, such as the Cakrapuru^a and Gadadevi respectively personifying the discus and mace which are placed in the

hands of Yi^pu* ; :

a sitting posture similar to padmasana.

an arrow (pi. xxxiii.6).

a sacrifice; an offering.

bend; flexions; attitude of the body.

a narrow-necked water-pot with a spout.

the earth; the earth goddess* -

a female born of the,earth; an epithet of Sita,

an old woman (Bengali).

a discus; an emblem of Y i ^ u ; a ritual circle used in Tantrik worship of Durga.

(pi. xxxiii.7~9)-« :

Gaitya temple: or monument originally of funerary character, usually Buddhist*

Camara, chowrie Capa :

Chatra Dakgipa pamaru

I 111 ■ .M ill M fclll II I I I

Darpapa

DaSahara, Dusserah

Dhanufc

Dhanyarupa

Durva Dhvatja Dhyana

a fly whisk*

a bow.

an umbrella*

fee; remuneration paid to a Brahmin priest for his services*

a hand-drum; a tom-tom; associated with Siva (pi. xxxiii,10-11;.

a rod; a staff*

a mirror (pi* xxxiii.12).

ten-armed; an epithet of Durga.

the tenth day of the bright half of

&£vina; in Bengal it is associated with the autumnal worship of Durga; also

called v i tjaya dasaml or the victorious tenth i n .commemoration of BIma*s victory over RUvapa. In the south and west of

India,'it is observed as a military festival. Originally, it had no connec­

tion with Durga, being held on the tenth of Jyai£tb-a 3-n honour of G-anga' s

descent from heaven. -

a bow (pi. xxxiii.13-140 • corn; grain; unhusked paddy.

paddy incarnate; an epithet of Lak^ml.

the earth.

the bent grass*

a banner* . ,

meditation; mental representation of the personal attributes of a deity; the ;"y verses describing- such a representation.

Gacha Gada Gayatri

Ghora

Grahavipra Gramadevata Gundi

Ear a Horn a]

JananI

>aaa

Jafra^ftta Jatamukuta

a particular pose of the hand in which the palm of the right hand is placed on that of the left and both are laid on the crossed leg of a seated figure*

a tree (Bengali)*

a mace (pi* xxxiii* 16-18)*

the name of a V e d i c 1 metre; variously arranged, but generally as, a triplet of eight syllables each* RV iii*62*

10 is a typical example; is called the Gayatri and also Savitri and is repeated, by every Brahmin at his \ morning and evening, devotions* , .

an earthen or metal pitcher to hold water for ritualistic purposes. \

a bell (pi* xxxiii,19*)♦

dark, terrible, malevolent*

astrologer; st Brahmain capable of pacifying the plhnets,

a village deity* ‘ . , -y the trunk of a tree (Bengali).

a torque, a necklace (pi, xxxvi.3), a sacrificial fire-pit* -

one who gives birth; mother.

matted locks, of hair*

long tresses of matted hair twisted or piled up on tjie head. : i; ; = matted locks of hair done up in .the' form of a tall crown on thevhead, and sometimes'adorned with jewels, or a crescent or a skull; associated

with Siva.

xxxvi.i)’ . :

Jntoamu&rll

Kama&dalu

Kambukantha

JIOBUU

Kahcxdama»

Katisutra, Mekhala

Kahkana

PMiii wmnTiim innii PiMiBif f iniiiia

Karandamukut a

Kargikara K artari

Katakamudra or Siifihakar&ahast a

Katihasta

a

a- pose of the hand in which the M p tips of the middle finger and of the thumb are joined together and held near the heart with palm turned inwards, (pi. xxxv.4)•

a water-pot made of gourd, wood, clay or metal with a spout; usually associated with Brahma and ascetics^

(pi, xxxiii.20). ■

having three horizontal lines on the throat; indicative of good

fortune and auspiciousness, (kambu-

a conch). . ~"

a jewelled girdle furnished with tassels and tinkling bells.

(pi. xxxvi.9-11)*>

a bracelet; a bangle.-

a crown shaped like a conical

basket with the narrow end upwards

(pi. xxxvi.2-3)•

the flower of Pterospermum Aceri- folium. — r— ~

a short chopper; a big knife.

a pose of the hand in which the, tips of the fingers are loosely applied to the thumb ao as to form a ring or resemble a lionfs ear.

(pi. xxxv.5-6).

a hand pose in which t h e ,arm is let down so as to hang by the side of , the body and made to rest on the

loin indicating a posture of ease or pertness. (pi* xxxvi7-8). .. the upper part of a human skull.;

used as a drinking cup •(pi.xxxiii*

21

-

).

K apalika

Katha

Eathakali

Keli-Kadamba

Keyura

Khetaka Kikar Kinnara

Kirata

Kirx^a,

Kir

1

wwiwwn* tnwini ■iiiBiiw.wuitfcuBw

Klrtimukha

Ks anika-murti'

|.i)iiiwTmn«iir-Ti mi iiniTiiirwi

Kgetradevata ,;

a Saiva ascetic of the left hand type who carries a human skull as a recep­

tacle for his food and drink and

worships Durga in her terrible, aspect with wine and’human sacrifice*

holding up with one, hand a skull with its concave side upwards.

a story or tale; in our context especially an aanecdote glorifying the acts of a god or goddess.

A colourful folk-dance from Kerala, South India,

a tree, Hauclea Cadamba, under which Kp$$a is said^to have dallied with

the milkmaids. k '

an armlet, (pi. xxxvi,6~8),

a heavy sword (pi. xxxiii,23)*

a shield (pi. xxxiv.1),

a tree of uncertain identity, possibly the pipal or f i cus,religiose.

a mythical musician the upper part of whose body is human and the lower part bird-like; he is represented as play­

ing on a yina.

a degraded mountain tribe who siibsist on hunting.

a diadem; any jewelled ornament used as a crown, (pi, xxxvi.4-5)*

a grinning lion-face carved at the top centre of the back-slab of an image, or over a gateway.

, a. sword. ' k . - ■ k \ ;

a,clay image made for seasonal ’ worship and immersion into' water ;

afterwards.: ; :

an earth deity,: 1 k k :

Ksetrapala

In^Hlll U«| ,... - ■ !■

1 ^ 1 ^

Kukkuta

Loka

hokamata*

Xckajahani Lalitakgepa, L aiitasana

.Lolahasta

M a t r ,' riatrka■ ■nnnmiiBWWW* I l f III. iiiMi.mnoii*.

Maitliim a Makara - ,

Map&ala ■

Mandapa H anikundala

lord of the fields, same as ICg etradeyat a . \ a “breast band (pi* xxxvi.5).

"a. cock; a peacock.

a pit; a brazier* . j

a pendant ear ornament.

a sitting posture, in which the : legs are crossed so as to make the:

heels come under thegluteals* ; .the world; the Universe•

the mother of the universe; an ep ithet of.Durga;and; Lakpmi*

a sitting posture in which one.leg;

usually the left is placed flat ;)!

upon the seat, while the right one!

is pendant;... also known * as ardha- ! p aryahka s an a * ; ; ; ~ i a hand that, hangs loose by the ; ' side of the body like the tail of ; a cow (pi* x x3c v*9“11)* v

mother; refers chiefly to Durga but may indicate any female divi- nity; usually used as a suffix ,to" . the:name of a goddess.

sexual intercourse, associated with (Tantrik worship of Durga*.

a mythical aquatic animal with

elephantine head; usually associa-:

ted with Gahga as her v ahana* /■

a circle; especially of divinities:

in the lantrik form of worship* t a pavilion*

an ear ornament made of gems*

Mantra Matsya

Matsyamudra

E&ga

Mudgara Mudra Mukuta

Murbl

Musala

! ^ -I I 11 I .nrV lH

Naga

Nagini Nataraja Navagraha N avanna Navaratha

N ay ilea

Nilotpala

N i m , Nimba tree

a sacred formula addressed to a deity*

a fish*

a fish held up in one hand*

illusion? magic.

a deer with antlers; an attribute of Siva.

a club.

a gesture of the hand.

a crown? a jewelled head-dress.

,an image; a representation, plastic or otherwise, of some deity.

a pestle..

a serpent; a mythical being, half snake and half human.

a live snake used as a noose.

a female naga*

lord of the dancers; an epithet of Siva.

the nine planets.

the ceremony new rice.

having nine facets (of an image pedestal)•

the heroine of a drama; the principal female character in a literary work of romantic type.

a blue lotus.

A zadirchta Indica

anklets with tinkling bells.

Ny agr odha-p ar ima$d ala

Padma Padmasana

Palasa tree_{MM IWTWhiMi lUl—fclf* —} Pancaratha

Parasu

P arivaradevata ParthivI

ana

Pasa

P atrakuudala

P hala.

Pinaka . Pisitasana

Prabhavali

a female figure with high breasts wide hips and a slim waist; an ideal type of feminine beauty, : a lotus (pl- xxxiv.5-6)-

a lotus seat; a sitting posture in which the two legs are crossed so that the feet are brought to rest on the thighs*

Butea Prondosa

having five facets (of an image pedestal.(Plate xxxix.3)•

taking the hand in marriage;

marriage.

a battle axe;(pl. xxxiv, 7-*9)*

attendant deity*

of.the earth; a daughter of the earth; an epithejj of SIta,

a sitting posture in which both the legs dangle from whatever type of seat the figure sits on.

a noose (pl. xxxiv.*10-12).

a circular ear ornament origin­

ally made of cones of cocoanut, of palmyra-leaves or of thin gold plates•(Pl, xxxvi.12).

a fruit (pl* xxxiv.13)*

a bow.

a female (goddess Camup<Ja) seated;

on a carrion-eater ( a dog?).

a place sacred to a god or goddess.

an elaborate h a lo • obeisance,

the opposite of alidha(pl.xxxviiii

2 )

Preta a corpse; a ghost or goblin.

Pustaka R a tjasika Rupasl Rupesvarl Sakta S a k t i ■

Saktyayudha■

Bala tree Salabhahrjika

Salaka

Samapadasthanaka

Saftkha

a

Saptaratha

Bara Saumya

Silpasjstra

TTlIf t !■■■ I ..lV llH . ■ « !!■ ■ ■ n lllllM ■■■■■» .11. . .

the portion of the litiga visible above its base.

a book; may also be a bundle of

palm-leaf manuscripts.(pl.xxxiv.14-15 ma.jestic.

a beautiful woman.

the goddess of beauty*

a worshipper of Sakti or Durga.

power; the female principle; the

emanation in female shape of any god*

with identical attributes; Durga; a spear-like weapon associated with Karttikeya. (pl. xxxiv.16).'

a spear.

Vatica Robusta.

an image or figure made of Bala wood;

a female figure standing in~tribhanga pose against a Bala tree and holding a branch of its~*leaves in one hand.

a stick.

a

a conch (pl. xxxiv.17-19).

the taking of seven steps; the circum- ambulation of the sacrificial fire seven times by the bride and bride- groom during an orthodox Hindu

marriage.

having seven facets (of an image pedestal)•

an arrow.

pleasing; placid; benevolent,.

treatises on the arts, especially sculpture and architecture.

Si&havahinl riding or sitting on a lion; a form as w e l l 'as an epithet of Durga*

Sit ala-pandit

Sloka Stupa

Sue!

Suclmudra

Sukhasana

Suta

fantra

priests of Sitala, an inferior class of Brahmins; may as well belong to the pom caste*

the impish followers of Siva*.

couplet* - *

a monument, generally of a pyra­

midal or dome-like form, especia­

lly one erected over the sacred relics of the Buddha or on spots consecrated as the scenes of his :;s

acts* . j

a needle; a sharp pointed vjeapon*

v k ►. ' .

a gesture of the right hand in which the projected forefinger points downwards and the hand

itself hangs down, (pl.xsbcv* 12-13) * a hitting position in which o n e ; i leg, usually.the left one, rests, flat on the.seat while the right knee is raised upwards from it

and the right arm is stretched opt on the upraised knee; also known; ' as maharajalila- or illasana.

ii*»imw wnwp mm i ■ ■!■■■!Bii mm*

(pl, xxxvii.J)*

a trident*

a daughter, ’ green*

a short axe-like weapon; a stone mason * s chisel, ' :

a class of. works teaching magical and.mystical formulas, mostly in the form of dialogues between Siva and Durga*

also called tapas, and tapah;

. - ^ w m ■>. * * * run---~ {y { i

the practice of austerities;

ascetic penance. ,

*1 ar tj an lumdra

rfhakura^I GDI 1 aka.

Tribhanga

Trisula

M^ira

V ajra

Vahana V ana V ara .

Varadamudra

V asuki V ibhuti Vidya

/ i !

i

' J

a threatening gesture made with the forefinger (index) of the right hand pointed upwards*

(pl, xxxv*14-15)*

feminine of ‘fhakura, a god.

a sectarian mark on the forehead made with sandal-paste, vermi- k

llion, ashes of cow-dung or clay from the bed of the Ganges*

a standing position with three bends in the-body - the fade;

slightly leaning to the right or.

left, the middle of the body to the left or right, and the por­

tion below the waist again to the right or left .(pl.xxxviii.^)

a.trident (pl. xxxiv.20-24-).

,a quiver, ;

haying, three mothers or eyes; an;

epithet 'of' Siva*.

ithyphallic. . \

a scarf of thin material thrown.

over the upper part of the body<

> ' , -■*

a thunderbolt; an aegis.

(pl, xsbsdv* 25-26).

a vehicle; a mount. ; . the forest.

a boon*

a "boon-giving** gesture made by the hand with palm open and f ing ers po inting downwards. ,-k /

(pl.xxxv.16-17).

the king of snakes, k\v

emanation, k . • k

a book; knowledge; science. .

Vidyadhara a demigod living in the Himalayas and possessed of magical powers*

V ismayamudra

V rksaka, Vykgadevata Y atjha

Ya.jnopavlta Yakga

Yaks 31, Yakglnl

I2£a Yogi

Yoginl

Yoni

Yonlpatfca*

Gaurlpatta Yantra

the Indian lute*

a hand pose that indicates astonish ment and wonder* In this pose the forearm is held up with the fingers of the hand pointing upwards and the palm turned away from the observer* (pl* xxxv. 18-19)•

a tree-spirit or goddess*

a sacrifice-*

the sacred thread worn across the chest by a Brahmin. (pl*xxxvi.l3)•

a supernatural being; usually a class of semi-divine beings who are attendants of Kuvera*

feminine of Yakga; may also mean an ogress such as Harltl*

asceticism.

an ascetic*

feminine of yog i ; a female super­

natural being; followers of Durga in lantrik belief.

the female generative organ; the species (of living being in which an individual is born).

the base of the Rivalin g a * an amulet; mystical diagram

supposed to possess occult powers and used in the lantrik worship of Durga.

• f l 1

li

fi

i . r g 2,; S H P L A T E S

Plate Descripti o n - /’

i . Dane ing Matpkas from Siddappa Temple at Haveri (Prom. Jame s , Burges s :. The. Anc lent Monuments , Tem p l e s , -and Sculptures of Ind i a , Part IX, Plate 5 1 S 7 T ~ “

ii. Indrapl from Paogacha, Bogra (Courtesy Varendra Research Museum, Rajshahi).

iii. Sapta-Matpka Panel from Haveri (Prom James Burgess:

The Ancient Monuments, Temples,and Sculptures of . India," Part XI, Plate 317* 5)

iv. a. Camup<ja Rudra-Carcika from Dinajpur

b. Camu£t$a Pisitasana from Dubail, Rajshahi (Courtesy*Varendra Research Museum, Rajshahi)

v* Dantura from Dinajpur (Courtesy Varendra Research Museum, Rajshahi).

vi. M6ther-and~Child Image from Mallickpur, Rajshahi;

(Courtesy Varendra'Research Museum, Rajshahi).

v i i • Mother-and-Child Image from Khajuraho (Prom H.

Zimmer; The Art of Indian A s i a ,, pl. 344).

viii. Roma or Pallas Athene on a coin of Huvi^ka (Prom

P.

20

).

ix. a. Obverse: Durga Ekanaftsa on a coin of Azes b. Reverse : Humped b u l l , v ahana of Siva

(Prpm“P. Gardner: British^Museum Catalogue,

p2i. xix.5) -

x. Durga sitting cross-legged (padmasana) on coins of Gahdragupta II (Prom: J.Allan : Catalogue of the Coins of the Gupta Dynasties. pl7~vli. 1,57)♦ ’

xi. Durga in .lalitdsana on the back of a. couchant lion on coins of Gandragupta II (Prom J.Allah:Catalogue of the Goins of the Gupta Dynasties, pl. ix.10,117.